It’s that time again. We came up with the fun idea when the first Valkyria Chronicles was released to hybridize our review and interview into an exclusive English liner notes article. We did this again when Valkyria Chronicles 2 was released, and given how much I loved that score, I was excited by the prospects of doing this once again for Valkyria Chronicles 3.

Basiscape Records once again comes to the rescue, publishing the 2-disc soundtrack for the game. We have our impressions along with Hitoshi Sakmoto’s commentary on some of our favorite tracks and the album overall, so don’t miss out!

Hit the jump for our exclusive liner notes article.

First of all, the Valkyria Chronicles 3 soundtrack has some big shoes to fill. If you read our review of Valkyria Chronicles 2, it was personally one of my favorite soundtracks of the year, if not my favorite work that Hitoshi Sakimoto has ever written. How does Valkyria Chronicles 3 match up? Well, it’s different, for sure. Whereas VC2 sported a rather playful sound given the characters’ backgrounds in the military academy, VC3 is darker and more brooding, more along the lines of the first game.

We do, of course, get the expected memorable main theme. “Valkyria Chronicles 3 Main Theme” stands out mostly for its lovely flamenco guitar work found throughout the piece. It’s a dark and militaristic theme with the brass section producing an oppressive melody while a snare drum quietly rolls in the background. Just as with previous games’ themes, hope is around the corner with a defiant brass melody. It actually took a few listens for this theme to grow on me, but it really stands up next to the amazing work from the first two games. The Sydney Scoring Orchestra adds that warm live quality, making this one of the highlights of the album.

Sakimoto on “Valkyria Chronicles 3 Main Theme”
Well, this time the story is very different from the last one. It focuses on a very hard fight. The season overlaps with the original Valkyria Chronicles. Welkin (from VC1) achieves a brilliant result, but there’s another mission that’s accomplished quietly and on a dirty side of the war without leaving its name in history. However, most members of the military unit are not bad people, and they are entrapped by somebody and then sent to this military unit. They are in the middle. It’s a story of the people who believe in justice and fight without losing hope.

Actually, I thought it would have a bit brighter atmosphere, when I heard about this project. While following the plot and getting to know the story, I found this story of strong people who live positively even in difficult situations. As a result of the circumstance, I remade the theme music about 7 times, but I think in the end it turned out perfectly.

Since we recorded the theme song with an orchestra at an early stage, I took the guitar, the bass and others out of the orchestra instruments and guided it with a synthesizer at that stage. We recorded the individual musical instruments such as guitar after all the music was gathered.

As you’ve come to expect, Sakimoto weaves this theme into various pieces throughout the score. It’s truly amazing how he can manipulate his themes to suit any emotion. “A Momentary Rest,” for example, takes the brooding theme and turns it into a sweet lullaby, although the iteration of the main them adds a sense of danger ahead. “That is ‘The Nameless,’ on the other hand, is a completely heart wrenching take with deep strings, while “As a Squad” is a riveting, triumphant version that is slower and more contemplative, brimming with hope. “Unnamed Heroes” is a heroic “World War II”-esque arrangement that is reflective and strong.

Sakimoto on Main Theme Variations
There was no one arrangement that was particularly difficult. My favorite is “With You….” The arrangement of this theme was written in the same way as previous ones, so I don’t think it was particularly difficult even though elements were derived from the VC3 main theme.

Interestingly, Sakimoto couldn’t let things be with just one memorable theme. He actually goes on to create a secondary theme of sorts that’s featured prominently throughout the score, and is featured for the first time in “In Search of the Next Battlefield.” The motif is instantly memorable, and the heavy brass used as bass in this version contrasts with the airy string section, creating an ominous atmosphere. It actually reminds me of Sakimoto’s work on Breath of Fire V. Of course you get a triumphant arrangement with “Must-Win Battle” and even a beautiful romantic version with strings and piano titled “With You….” It’s surprising to find that it’s this theme, and not the game’s main theme that makes its way into “Final Decisive Battle,” which is actually a measured arrangement, and not as explosive as you’d expect the final battle to be. Finally, “To the Fortune of Mutual Trust” is an arrangement featuring a church organ and some comedic elements while “Together With a Little Fortune” is a lovely solo guitar version.

Regarding the details, before the theme was decided, I wrote “Nameless Hero” (track 12 from disc 2). The melody was really nice, but the bright impression didn’t come off, so it was turned down. At this stage, they decided to use “Nameless Hero” as a staff roll. I really wanted to relate to “Nameless Hero.” I duplicated the internal sound from the final decided melody of the “Valkyria Chronicles 3 Main Theme” and “Nameless Hero.”

Talking about how things got this way, I understood that the story had a very heavy atmosphere. For that reason, I insisted that I wanted to make the main theme with a feeling of hope which symbolizes this story. As you can see at the end of this game. That is the reason why “Nameless Hero” is used for the ending. But the director had a different idea. He wanted the player to know from the beginning that it’s a different atmosphere from the previous series and requested that I express ‘Strength to advance in a very hard situation.’ That’s why the theme is like this. Of course I think the director’s judgment was right after all.

“Nameless Hero” has a warm feeling. So the arrangement using this theme has a similar sound. Also the arrangement using the main theme gives a gloomy impression.

While the two themes are the highlight of the album, Sakimoto has also written some heavy battle themes. “Fierce Battlefield” allows the old Sakimoto to drip through, as you’ll be reminded of his work on Final Fantasy Tactics. “Seesawing” and “Crow of Disaster” are just as intense, once again highlighting the harsh realities of war. “Risking Everything on This Stroke” borders on Hollywood action film territory with his combination of powerful orchestral hits with synthesized electronic bass and a driving drum beat. Finally, “The Looming Sound of Ammunition Boots” is downright dirty with its mean slap bass and chaotic triangle hits in the background that will be one of your lasting memories from the album.

Sakimoto on his Battle Themes
Actually, writing similar music could happen if you write lots of battle music. But is there a similar piece in Final Fantasy Tactics? For me I imaged a modern battle and wrote for that, so it’s supposed to have different motivation. Generally, since the melody has a lot of unstable chords brought close to atonality, I don’t think it’s suitable for fantasy.

If something sounds like Hollywood, it must simply be the scales. There are some scales I prevented using in the old days, and this is one. Recently there has been demand from clients, so I may use them sometimes.

Because it’s a modern war, I took a different approach from a previous work in the formation of the musical instrument and use the modern musical instruments. A chopper bass and the percussion of the drum kit are passionate, aren’t they? I love it, too.

There are a few other tracks to highlight, including “Swirling Conspiracy” with its foreboding use of deep brass sounds and this creepy descending synth accent to lend a sense of mystery. “Fear and Guts” features a sense of distorted hope as the ascending melodies are seemingly upbeat, although the instrumentation and tempo keep the piece mired in gloom. “OPEN FIRE!” is an interesting Western-style guitar track, sounding almost like rock music, while Sakimoto lets up on the mood with “We Are ‘The Nameless’,” a mischievous piece with pizzicato strings and a whimsical string melody and “Damn it!,” a playful guitar-based tune with a nice swing to it. I also enjoyed “Reila Marceris” with its sweet solo piano featuring some familiar melodies, although I can’t trace them back to the main theme. It’s a nice break from the chaos found elsewhere on the album.

Sakimoto on Miscellaneous Tracks
Basically I’m a techno person, so I really like a synthesized sound. But that sound in an orchestra wouldn’t stand out and it’s considerably limited. I think its good mix in “Swilling Conspiracy.”

“OPEN FIRE” exists because of the live guitar. It’s thanks to the player, Mr. Ota. That atmosphere can’t be achieved with a synthesizer. When we expressed the Darcsen in this series, we used a classic scale and some unrefined atmospheric instruments. But because it is battle music, we made it a guitar work, like a rock style for the first half and a Spanish style for the other half. I think it went well.

The melody of “Reila Marceris” is completely independent music. It’s not derived from anything else. We were talking about writing another arrangement to use for another scene for Riela, but it seems like it’s okay with only this piece. Actually, I like writing easy listening music like this. And I often express nature. In this piece, our client requested this feeling that ‘it’s very ephemeral. You feel like you have to protect.’ So I wrote this piece imagining only one small flower on the grassy plain of a highland.

Tucked away at the end of the album are guitar arrangements of past themes, including three tracks from the original Valkyria Chronicles: “Theme of Valkyria,” “Gallant Battle” and “Series’ Main Theme,” all performed by Mitsuhiro Ohta. “Theme of Valkyria” balances beauty with intensity, while “Gallant Battle” is a playful, upbeat take on the originally militaristic track. The series main theme gets a more somber arrangement, slowing down and expressing a feeling of loss. My favorite of the bunch, however, is “Final Battle” from Valkyria Chronicles 2, which is upbeat, and of course features the “Valkyria Chronicles 2 Main Theme” which I am entirely in love with. The piece hops along playfully, which is funny given that this is the final battle theme, but fitting given the nature of the game’s main theme.

Sakimoto on Guitar ArrangementsValkyria Chronicles 3 is our first project where we worked with Mr. Ota. When I worked for a play before, I saw Mr. Ota play guitar and I was really impressed by his performance. So I was waiting for a chance to work with him. He played the entire guitar in this story as well as this arrangement.

Regarding the last four songs of this OST, you would need to talk to the arranger. I think it’s smart and worth a listen.

In fact, it’s not guitar, but we are making a piano album of Valkyria Chronicles 3. It’s really wonderful. So look out for the official announcement.

As mentioned, the album comes courtesy of Basiscape Records, featuring a booklet with extensive credits and an interview in Japanese along with beautiful artwork from the game from front to back. I dig the sketches found on the discs themselves. The music speaks for itself. It’s all fantastically composed by Hitoshi Sakimoto, and if you liked his past work on the series, you’ll probably like this. There are many memories I’ll keep from the album, including his dark, brooding, brassy main theme and the snazzy guitar arrangements found at the end. You can pick the album up at CD Japan if you’re interested.

Sakimoto’s Final Comments on Valkyria Chronicles 3
Well, this game series is already up to the third one, and the animation is up to the second one. Honestly, I didn’t’ think it would be that long of a series when I worked for the first project. I don’t have any work were I have been involved for this long. I’m pleased that this series is loved by so many people.

Welkin from VC1 and Avan from VC2 appear in this story. I would be pleased if you can feel the difference of their relationship and the atmosphere. It’s a prequel to VC1, so it really polishes the story. I’d like you to enjoy the story of the people who took really worthwhile action while enduring an incredibly hopeless situation, behind the people who gave glory to the bright war.

What do you think of Hitoshi Sakimoto’s work on the Valkyria Chronicles series? Are you looking forward to a US release of Valkyria Chronicles 3 in the future?

[Special thanks to the team at Basiscape for translating Sakimoto-san’s response]

First of all, the Valkyria Chronicles 3 soundtrack has some big shoes to fill. If you read our review of Valkyria Chronicles 2, it was personally one of my favorite soundtracks of the year, if not my favorite work that Hitoshi Sakimoto has ever written. How does Valkyria Chronicles 3 match up? Well, it’s different, for sure. Whereas VC2 sported a rather playful sound given the characters’ backgrounds in the military academy, VC3 is darker and more brooding, more along the lines of the first game.

We do, of course, get the expected memorable main theme. “Valkyria Chronicles 3 Main Theme” stands out mostly for its lovely flamenco guitar work found throughout the piece. It’s a dark and militaristic theme with the brass section producing an oppressive melody while a snare drum quietly rolls in the background. Just as with previous games’ themes, hope is around the corner with a defiant brass melody. It actually took a few listens for this theme to grow on me, but it really stands up next to the amazing work from the first two games. The Sydney Scoring Orchestra adds that warm live quality, making this one of the highlights of the album.

As you’ve come to expect, Sakimoto weaves this theme into various pieces throughout the score. It’s truly amazing how he can manipulate his themes to suit any emotion. “A Momentary Rest,” for example, takes the brooding theme and turns it into a sweet lullaby, although the iteration of the main them adds a sense of danger ahead. “That is ‘The Nameless,’ on the other hand, is a completely heart wrenching take with deep strings, while “As a Squad” is a riveting, triumphant version that is slower and more contemplative, brimming with hope. “Unnamed Heroes” is a heroic “World War II”-esque arrangement that is reflective and strong.

Sakimoto on Main Theme Variations
特にアレンジの難しかった曲はありませんが、自分で好きなのはCD2-Track09です。

Interestingly, Sakimoto couldn’t let things be with just one memorable theme. He actually goes on to create a secondary theme of sorts that’s featured prominently throughout the score, and is featured for the first time in “In Search of the Next Battlefield.” The motif is instantly memorable, and the heavy brass used as bass in this version contrasts with the airy string section, creating an ominous atmosphere. It actually reminds me of Sakimoto’s work on Breath of Fire V. Of course you get a triumphant arrangement with “Must-Win Battle” and even a beautiful romantic version with strings and piano titled “With You….” It’s surprising to find that it’s this theme, and not the game’s main theme that makes its way into “Final Decisive Battle,” which is actually a measured arrangement, and not as explosive as you’d expect the final battle to be. Finally, “To the Fortune of Mutual Trust” is an arrangement featuring a church organ and some comedic elements while “Together With a Little Fortune” is a lovely solo guitar version.

While the two themes are the highlight of the album, Sakimoto has also written some heavy battle themes. “Fierce Battlefield” allows the old Sakimoto to drip through, as you’ll be reminded of his work on Final Fantasy Tactics. “Seesawing” and “Crow of Disaster” are just as intense, once again highlighting the harsh realities of war. “Risking Everything on This Stroke” borders on Hollywood action film territory with his combination of powerful orchestral hits with synthesized electronic bass and a driving drum beat. Finally, “The Looming Sound of Ammunition Boots” is downright dirty with its mean slap bass and chaotic triangle hits in the background that will be one of your lasting memories from the album.

There are a few other tracks to highlight, including “Swirling Conspiracy” with its foreboding use of deep brass sounds and this creepy descending synth accent to lend a sense of mystery. “Fear and Guts” features a sense of distorted hope as the ascending melodies are seemingly upbeat, although the instrumentation and tempo keep the piece mired in gloom. “OPEN FIRE!” is an interesting Western-style guitar track, sounding almost like rock music, while Sakimoto lets up on the mood with “We Are ‘The Nameless’,” a mischievous piece with pizzicato strings and a whimsical string melody and “Damn it!,” a playful guitar-based tune with a nice swing to it. I also enjoyed “Reila Marceris” with its sweet solo piano featuring some familiar melodies, although I can’t trace them back to the main theme. It’s a nice break from the chaos found elsewhere on the album.

Tucked away at the end of the album are guitar arrangements of past themes, including three tracks from the original Valkyria Chronicles: “Theme of Valkyria,” “Gallant Battle” and “Series’ Main Theme,” all performed by Mitsuhiro Ohta. “Theme of Valkyria” balances beauty with intensity, while “Gallant Battle” is a playful, upbeat take on the originally militaristic track. The series main theme gets a more somber arrangement, slowing down and expressing a feeling of loss. My favorite of the bunch, however, is “Final Battle” from Valkyria Chronicles 2, which is upbeat, and of course features the “Valkyria Chronicles 2 Main Theme” which I am entirely in love with. The piece hops along playfully, which is funny given that this is the final battle theme, but fitting given the nature of the game’s main theme.

As mentioned, the album comes courtesy of Basiscape Records, featuring a booklet with extensive credits and an interview in Japanese along with beautiful artwork from the game from front to back. I dig the sketches found on the discs themselves. The music speaks for itself. It’s all fantastically composed by Hitoshi Sakimoto, and if you liked his past work on the series, you’ll probably like this. There are many memories I’ll keep from the album, including his dark, brooding, brassy main theme and the snazzy guitar arrangements found at the end. You can pick the album up at CD Japan if you’re interested.

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